TATEVIK VARDANYAN
Tatevik Vardanyan is mainly a street photographer based in Yerevan, Armenia working on commercial and editorial briefs. This includes working on the photography behind the scenes of short feature length films such ‘Taniel’, social-art projects ‘arMENia’ and various food product assignments. However I will be specifically analysing Vardanyan’s series called ‘Panels’ whereby she studies the architecture within industrial and urban spaces. She is specifically fascinated by the way the legacy of the Soviet in Armenian architecture still remains evident today, causing buildings to appear dull, decayed and crumbled. Vardanyan however aims to look beyond their immediate appearance into their intricate detail and beauty within the remaining structures. Relating this series of work to my fourth brief, I would look into capturing other people’s homes, specifically those that are evidently poor and deprived. I like the idea of comparing others people’s homes to that of my own, as it enables me to learn about different classes and cultures within society. During my own photo shoot inspired by Vardanyan’s work I would explore large blocks of flats and council houses are typically run down and poverty-stricken, but are still homes to many. I find Vardanyan’s images particularly interesting to study due to the amount of structural repetition and patterns she has captured, creating a strong sense of order and formation. This has thus formed straight horizontal and vertical leading lines, leading the viewer’s eyes across the whole of each image. There are also strong tonal contrasts across each image reflected from the use of natural daylight and monochrome colour scheme. Consequently an almost melancholic and dull atmosphere is evoked from the images, reinforcing ideas of industrialisation and destruction. Overall these images don’t evoke typical feelings of ‘home’ such as comfort and safety which I feel would be an interesting topic to explore further in my own work.
ANA CASAS BRODA
Mexican photographer Ana Casas Broda was born in 1965 in Spain and studied visual arts, hosiery and photography in Mexico City. Her series of photographs ‘Kinderwunsch’ (meaning ‘the desire to have children’) ranging from 2006 to 2013 documents her struggles of falling pregnant with her two sons and then their childhood. She specifically captures her two children in their home playing games, having baths and breastfeeding giving a strong real and documentary feel to her images. This is also reflected from the large amounts of controversial nudity in her work, often criticised by male editors. However Broada argues she aims to document how motherhood has changed her, evident through her self-portraits captured using a remote control. I like Broda’s work in particular as she has given her audience an insight into her domestic life within her home, showing the realities of motherhood. A common motif of her work is the use of very dark lighting, putting a direct spotlight onto her subjects; herself and children. This is very effective as immediately draws the viewers attention onto the subjects whom are surrounding by shadows and dark backgrounds. If I were to use Broda as my inspiration, I would adopt the documentary genre of photography, exploring my own home and others. I think it would be more engaging to use children and families who are central features to a home environments and explore their relationships, such as mother and child.
Bibliography:
- http://www.tatevikvardanyan.com/panels/
- https://www.theguardian.com/artanddesign/2013/jan/10/ana-casas-broda-best-photograph
- http://www.anacasasbroda.com/biografia
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